To Sir William Harris
belongs the distinction of having written two of the very finest
of all English church anthems, Faire is the heav’n and
Bring us, O Lord God. Both are included in this anthology,
which offers probably the most extensive survey of Harris’s
vocal music yet committed to disc. There are no other pieces
of quite the same stature in this anthology, but that’s not
to say the rest of the programme is of inferior quality. The
only other comparable collection of which I know is a 1997 ASV
disc by Andrew Carwood and the Exon Singers (CD DCA 1015). I’m
unsure if that’s still available but, if it is, the two discs
complement rather than compete with each other because the Exon
Singers are a mixed adult SATB choir, while the St. George’s
Chapel choir uses boy trebles and male altos. Furthermore, there
are only four pieces that are common to both discs.

Let’s first assess
the performances of the two truly great anthems before considering
other pieces. Faire is the heav’n is probably the finer
piece – by a whisker – though personally I love Bring us,
O Lord God even more. The former, a setting of Edmund Spencer
(1552-1599), was memorably described by Herbert Howells, in
a ninetieth birthday tribute to Harris, as “a supreme, flawless
example of the ordered beauty of his Church works.” Ostensibly
in the remote key of D flat, but ranging much wider, the work
inhabits an otherworldly milieu and is characterised by sensual
beauty at the start and finish though there is ardour in the
central section. The St George’s choir sings it well though
they’re not as full toned as the Exon Singers. Both choirs are
bested, however, by John Rutter’s rich toned Cambridge Singers
in their luminous recording (Collegium COLCD 107). Rutter’s
choir also receives the best recording, the singers being set
at just the right distance from the microphones to produce a
magical distancing in the lovely acoustic of the Lady Chapel
at Ely Cathedral.

The St. George’s
account of Bring us, O Lord God is also a success though
once again I’d award the palm to Rutter’s choir, who unfold
this wonderful anthem with an incomparable sense of spaciousness.
(COLCD 113) In this piece I felt I detected one or two slight
sounds of strain in the St George’s choir and I just wondered
if the choir of sixteen trebles and four each of altos, tenors
and basses was quite strong enough fully to deliver Harris’s
sumptuous double choir writing – incidentally, the Collegium
engineers achieve the best spacing of the double choir. But
in saying that I’m conscious of one important feature of this
Naxos CD: its authenticity.

Part of the value
of this disc lies in the fact that many of the pieces, including
Bring us, O Lord God, were written precisely for this
choir and the chapel in which the recording was made because
Harris was organist of St. George’s Chapel from 1933 until 1961.
Alastair Sampson, who contributes an outstanding booklet note,
was himself a chorister under Harris between 1951 and 1955 -
by which time he’d become Head Chorister – and, indeed, he relates
in the note the occasion on which Harris rehearsed him and his
fellow trebles for the very first time in his new piece, Bring
us, O Lord God. So, even if I say that the choir sounds
a little underpowered by comparison with some of their rivals
it must be borne in mind that Harris conceived this piece for
precisely this size of choir and this very acoustic.

If part of the value
of the disc lies in that authenticity an equally high value
comes from the choice of repertoire, which includes no less
than three first recordings. One such is The night is come,
which Alastair Sampson describes very aptly as “vintage Harris,
but now with an added autumnal glow of old age.” It’s a splendid
piece, setting words by Sir Thomas Browne (1605-1682) in which
sleep is treated as a metaphor for death. Particularly striking
is the gentle warmth of the closing pages (from about 8:30).
Timothy Byram-Wigfield and his singers do the piece proud.

By contrast, the
very next track, also a première recording, is a comparatively
simple, strophic Christmas piece, The shepherd-men. This
four-part setting is one of no little charm and the added exposure
this recording should give it might see it become popular amongst
choirs in general. The third piece recorded for the first time
is I said to the man, a setting for men’s voices, which
Harris made in retirement, of the text made famous by King George
VI’s inclusion of it in his 1939 Christmas broadcast.There’s
a touch of austerity to this piece, which has a restrained eloquence
about it.

For the rest, some
of the pieces are better known than others. I enjoyed very much
the account of Strengthen ye the weak hands, a finely-wrought
composition which receives a committed performance, rising to
a majestic climax at “They shall see the glory of the Lord”.
The performance is one of several that are enriched by fine
organ accompaniment in the expert hands of Roger Judd who, after
more than twenty years at St George’s, clearly has an intimate
knowledge of the organ there and how it works in the acoustic.
The longest piece is Praise the Lord and I’m afraid I
found this anthem was a bit too long for its material. From
a heart made whole, on the other hand, is a nicely compressed
creation, which features some surprising, intense harmonies.
It’s a most interesting piece and it’s sung with great conviction.

Sir William Harris
was a notable figure in twentieth-century English church music
and, at its best, his music has genuine quality and the capacity
to inspire and move performers and listeners alike. In the tribute
from which I’ve already quoted, Herbert Howells summed up Harris’s
art with typical felicity, averring that Harris can “demonstrate
that eight-part vocal counterpoint and double-choir textures
can – under Providence and a skilled hand – produce sounds appropriate
to the beauty of the cathedrals and churches that are their
natural home.”

As I said, there’s
a very appropriate sense of authenticity about this recital,
the contents of which have been shrewdly chosen, and it’s a
fitting tribute by Harris’s choir under the expert leadership
of his latest successor. The performances are very good, as
is the recorded sound. The booklet contains all the English
texts and a superbly informative and well-written note, which
is very extensive. My only criticism of the note is that it
doesn’t discuss the music in the order in which it appears on
the disc. That’s a small matter, however, since the essay flows
so well. Naxos could have got round this problem by the simple
expedient of using bold type for the title of each work as it
appears in the note.

That very minor
criticism apart, this is a first rate production which all devotees
of Anglican church music will surely savour.

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